COP 3: Evaluation

I thoroughly enjoyed this project and found a greater amount of research has greatly informed the project and my design work. The theoretical approach encouraged me to explore and develop a greater understanding of the topic of feminism and my views towards it. Whilst the practical approach enabled me to apply my findings visually. Visualising commodity feminism for a non-feminine product was an interesting approach as there is so much controversy surrounding the topic and title of feminism it was a challenge to create a campaign that didn't focus specifically on the backlash. Through feminist theories on aesthetics and other 'femvertising' techniques the practical approach successfully visualises commodity feminism. 

Upon successful digital implementation and recognition digitally, further development of the practical approach could further implement the commodification element. By incorporating the campaign to physical products. This could be achieved by adding the slogan 'she needs it' to the packaging. This could also include printed matter such as stickers that could be added to the packaging. Other merchandising such as T-shirts could also be used for further promotion of the campaign. 

Overall feedback received highlighted the practical approach responds well to theoretical findings discussed within my essay. Although there is room for further development to explore commodification further and expand on this project with physical elements perhaps within my extended practice.

COP Further Development : Based on feedback

Based on this feedback I will further refine the language within the content to be slightly less subtle and more manipulative. However feedback received was mainly positive and the outcome itself could just be tweaked slightly to better inform the context behind the practical. Positive feedback highlighted that the outcome itself was well executed. The outcomes shown above show further developments based on this feedback. 

The outcome was developed further by making the language of the campaign more manipulative. This was achieved by altering the campaign slogan or language from 'she's got it' to 'she needs it'. This minor tweak makes the campaign manipulative through language. With emphasis on the brands relationship with the consumer through language creating a need for a product the campaign aims to sell. Emphasising the commodification element of the campaign visually through language. 

The images although feedback suggested these could perhaps be altered to visualise a much broader approach. The focus on one woman and on her face was justified and backed up by techniques applied including celebrity endorsement. It was also backed up by the product the campaign aims to sell toothpaste, so imagery focuses on the face for visualisation to be as clear as possible. 

Final Crit COP 3

• Consider is language far enough and could this be further manipulated 
• For further development consider how this could appeal to transgender audiences - possibly through imagery
• Could type be more manipulative by replacing 'got it' with 'need it'.
• How can you make it slightly more manipulative 
• Look into John Berger ways of seeing, chapter 4 on women 
• Could imagery show a transgender woman
• Reflective trope through slogan and visualisation
• Could women be shown in are more open context within the imagery - perhaps with men 
• Refine the language or imagery to be more manipulative
• Good narrative 
• Strong concept 

Based on this feedback I will further refine the language within the content to be slightly less subtle and more manipulative. However feedback received was mainly positive and the outcome itself could just be tweaked slightly to better inform the context behind the practical. Positive feedback highlighted that the outcome itself was well executed. 

D&AD Talk

D&AD is a global organisation that inspires, celebrates and enables creativity

D&AD Talk

·      Society, business’ and our lives are shaped by creativity

·      Push the boundaries to what you can achieve

·      Categories have been developed to reflect the changing industry

·      D&AD briefs enable you to work with real life brands and challenges

·      Allows you to consider your preferred working culture

·      It is a positive way to share ideas in industry

·      Consider how specific elements can be used to influence

·      Look into both past and present for influences

·      Push boundaries as to what the outcome can be

·      Educate yourself with research

·      Look into existing work as inspiration

·      Consider how to improve people’s knowledge

·      Educate other people through informed research

·      How can your outcome stand out?

·      Consider how to get people invested?

·      Networking opportunity – work can be seen by industry professional judges

·      Extra prizes are available including placements and featuring

Top tips from D&AD

·      Read and re-read the brief

·      Do your research

·      Ideas should be simple and disruptive

·      Use technology well

·      Craft it well (well-executed)

·      Clues can be identified in the brief by key insights or phrases

Critical Understanding : Graphic Design & Advertising

Advertising has long been recognised as an important cultural force by mass media and cultural studies scholars. Graphic design, despite its comparable ubiquity, has rarely been the subject of this kind of critique. The emphasis has been overwhelmingly on textual manifestations of graphics, advertisements and campaigns and, occasionally, on their reception. 

In the interest of working towards a fuller account of the overall circulation and reproduction of an increasingly commercial contemporary culture. By paying attention to the framing of current debates about accountability and social or corporate responsibility within this profession, the essay has explored the positive and negative effects of commodity feminism in relation to graphic design and more specifically in advertising. Advertising and design are readily distinguishable from other economic institutions because of their declared expertise in creating specifically cultural forms of communication. Further, these practices rely on the skills of cultural intermediaries: individuals whose job it is to develop these forms to mediate between, or more properly, articulate, the realms of production and consumption.

Graphic designers, it seems, enjoy much greater latitude for personal expression than ad creatives or at least enjoy a professional culture, that supports debate and dissent through a variety of activities, and recognises non-commercial design projects as legitimate forms of expression. While the designers may claim that advertising is a creative practice entirely subsumed by commercial constraints, they also recognise that their own professional activities involve only a limited degree of subjective control. Personal and non-commercial projects, often indirectly funded by income from business clients, appear to provide a more reliable means to creative fulfilment.